Saturday, May 21, 2011

Mad German Auteur, Now in 3-D!: Movies TV: GQ

Mad German Auteur, Now in 3-D!: Movies TV: GQ



Explaining his own film, Herzog says, "I follow my own fascinations...." He also has a story about how he saw a book of cave paintings in a shop when he was a child and saved up for six months to buy it. But when I ask him to consider why he has always been fascinated by cave paintings, he looks at me as though I have just said something slightly distasteful. (Steady yourself. We are only seconds away from tumbling down a vortex and toward our first real-life glimpse of the world as seen by Werner Herzog.)
"Oh, I don't want introspection," he demurs. "I don't like to look at myself."
Why?
"I've always been suspicious. I don't even look into my face. I shaved this morning, and I look at my cheeks so that I don't cut myself, but I don't even want to know the color of my eyes. I think psychology and self-reflection is one of the major catastrophes of the twentieth century. A major, major mistake. And it's only one of the mistakes of the twentieth century, which makes me think that the twentieth century in its entirety was a mistake."
What's the mistake with psychology and self-reflection?
"There's something profoundly wrong—as wrong as the Spanish Inquisition was. The Spanish Inquisition had one goal, to eradicate all traces of Muslim faith on the soil of Spain, and hence you had to confess and proclaim the innermost deepest nature of your faith to the commission. And almost as a parallel event, explaining and scrutinizing the human soul, into all its niches and crooks and abysses and dark corners, is not doing good to humans. We have to have our dark corners and the unexplained. We will become uninhabitable in a way an apartment will become uninhabitable if you illuminate every single dark corner and under the table and wherever—you cannot live in a house like this anymore. And you cannot live with a person anymore—let's say in a marriage or a deep friendship—if everything is illuminated, explained, and put out on the table. There is something profoundly wrong. It's a mistake. It's a fundamentally wrong approach toward human beings."
And so if humans persist in this way...?
"They persist in stupidity, then."
And what will the consequence be?
"For example, for me, I could never ever be with a woman who is three times a week with a psychiatrist. It's like an iron curtain between us. Like venetian blinds rattling down."
I don't know if it's related, but you've previously mentioned an intense antipathy to yoga classes. Could you be with a woman who did yoga?
"Of course not. Of course not. I think there should be holy war against yoga classes. It detours us from real thinking. It's just this kind of...feeling and floating and meditation and whatever. It's as tourism in religions. People all of a sudden becoming Buddhist here in Los Angeles."
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It is Herzog who brings up the moment captured on film in Burden of Dreams, the documentary made about the filming of Fitzcarraldo—"a moment which I still feel very strongly inside of me"—where he suggests, after a series of trials and mishaps and disasters, that he should no longer make movies anymore and that perhaps he would be better to go straight to an insane asylum. "Or I should do something more dignified," he reflects. "A grown-up man should do something more dignified. You never see a cattle rancher who is not dignified. You never see a farmer who grows wheat and is not dignified. No one is undignified for raising cattle, and filmmakers are."
You still think that?
"Yes."
And you feel yourself undignified, being a filmmaker?
"It's always borderline. You have to look at yourself, and you know there is something very, very strange about what you are doing."
When you look at other filmmakers, do you think they are engaged in something that—
He interrupts me. "Always, always the same. And you can straightaway, when you see films on filmmakers—they're always, always embarrassing. Including me. I cannot elude that embarrassment, either. I do not feel it as deeply as others should feel who have an ego problem and play the king on the hill, the genius behind the camera. That's an additional embarrassment. But when you look at movies made about filmmakers, they are without exception embarrassments."
I suppose the counterargument should be something about this glorious role as a grand storyteller, the spinner of illusions.
"There is nothing glorious about making a film. It is an endless sequence of banalities."
With a magical goal?
"Yes. But shooting a film itself is nothing but banalities. [Then, as though reluctantly, he continues.] However, there's very rare moments where I get the feeling sometimes I'm like the little girl in the fairy tale who steps out into the night, in the stars, and she holds her apron open, and the stars are raining into her apron. Those moments I have seen and I have had. But they are very rare."

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